Dassain symbolizes the victory of good/virtue prevailing over evil/falsity. It is the most important festival in Nepal. Since most of the Lotshampas (Southern Bhutanese) originated from Nepal, the southern Bhutanese celebrate it every year in September or in beginning days of October. The date of celebration varies every year which marked as per the Hindu calendar. According to Hindu Mythology, Dassain festival has been celebrated since Lord Ram and Goddess Durga had gotten the victory over Ravan and Mahisharura, the demons who had created terror in the Devaloka (the world where God reside.) consequently, the festival is a way of acknowledging triumph over an evil spirit. Dassain is popularly a celebration within families lasting for 15 days starting from bright lunar fortnight to full moon (Hindu calendar) The days are divided for the activities starting from cleaning, washing to shopping. However, in Bhutan the official declaration of holiday is one day (day of Tika.) The community people explain that the significance of celebrating the festival with families is to honour the unity of Lord Ram’s Monkey army who helped him build the stone bridge to connect Lanka where Sita has been confined. The most memorable of all days of Dassain is the Vijaya Dashami or the Day of Victory. On this day, the families gather to put tika (rice mixed with curd) beginning with the eldest person on the youngest. The person who puts tika also has to give money as a symbol of blessing. In the community level, the Gup, head of the community will be invited to receive the Raja Tika. However, the nature of celebration of Dassain then and now has taken a transformation; earlier all the people of the community used to come together for the grand festive celebration, but nowadays due to the modernization and employment opportunities, many of the family members have migrated to the urban cities or travelled aboard, leaving the celebration only for members present during the occasion.

An artistic product often like a stick or a bunch of sticks basically made from powders of mixed aromatic plants and medicinal substances. It emits sweet fragrance smoke when burnt and normally offered in and at the sacred places to please deities and to get cleansed and rid-off defilements. The production of incense is considered one of the religious crafts, and it is another way of making Sang (smoke) offering. According to the Bhutanese artisans’, the craftsmanship dates back to the time immemorable when the first Lord Buddha Nam-par zig-pa (Skt. Bispa shayi) attained enlightenment and offered the Sweet Fragrance smoke by burning the Incenses by the enlightened beings; celestial beings and Bodhiasattavas made from varieties of heavenly medicinal herbs. The tradition gradually spread in the spheres of Bonpos (per Buddhist religion of Tibet) and Hinduism and maintained its skill until Buddha Sakya Muni’s period which is about 2500 years back then. The art was also adopted by the Chinese Buddhist missioners and further spread to Mongolia, Korea and Japan as well. In Tibet, the making Smoke offerings and burning incense was officially implemented the 7th Century during the reign of King Songtsen Gampo (R. 618 AD- 650 AD) when Princess Wenchang (M. 641 AD-650 AD) and her entourage members suffered illness while heading towards Lhasa (then, the capital of Tibet) as bride to the King. The Princess tried to medicated using physician attendants but could not bring to the normal yet, by offering the smoke offering made attendants fully recovered. The instruction to make Smoke Offering was from the Minister Thonmi Sambota () who had a visualization from the sacred Sakya Muni images to collect the medicinal herbs from the mountains and making smokes will ease any diseases associated to Nagas. Later, incense making and burning tradition was gradually invented using the same raw materials and medicinal ingredients of Smoke offering. In Bhutan, the art of Incense making was brought by the Country Unifier Zhabdrung Ngawang Namgyal (1594-1654) and was initially practiced in the Dzongs (fortress) by the monk artisans. Thereafter, the tradition remained intact amongst the Bhutanese being the Buddhist and making offering of incense had been a daily special offering substances in the individual shrines, temples and monasteries. Currently, there are a countable incense manufacturing centers across the country. These industries produce mainly two different incenses: Ja-ju poe (herbal incense) with a yellowish texture and Zu-poe or Choe-jue poe (incense mixed with flesh and blood ingredients) with a brown color. Ja-ju incense is usually burned explicitly for the enlightened beings and when performing Drol-chog (ritual of Goddess Tara), while the other is offered to the guardian deities and guardian spirits during affirmation rituals.

Rangoli, which means “an array of colours” in Sanskrit, is a traditional Indian art form dating back some 5,000 years to the pre-Aryan period. It is known as kolam in Tamil. The art of rangoli originated in India, where these decorative patterns have been drawn outside Indian homes and in temples for hundreds of years. The practice was brought to Singapore by Indian migrants who settled here. A rangoli pattern is made of unbroken lines. This is thought to prevent evil spirits from penetrating through the gaps. The designs range from geometric shapes of peacock motifs to floral designs to faces of Hindu gods. Popular ones include circular designs, which signify the endlessness of time, and the lotus flower design with Goddess Lakshmi in the middle, which represents prosperity and fertility in Hinduism. Some people also place diyas (oil lamps) inside the rangoli and light them for a puja (prayer). The patterns are passed down from one generation to the next, with women taught to make these designs outside the home or near the altar (prayer room) area.

The Vedas comprise a vast corpus of Sanskrit poetry, philosophical dialogue, myth, and ritual incantations developed and composed by Aryans over 3,500 years ago. Regarded by Hindus as the primary source of knowledge and the sacred foundation of their religion, the Vedas embody one of the world’s oldest surviving cultural traditions. The Vedic heritage embraces a multitude of texts and interpretations collected in four Vedas, commonly referred to as “books of knowledge” even though they have been transmitted orally. The Rig Veda is an anthology of sacred hymns; the Sama Veda features musical arrangements of hymns from the Rig Veda and other sources; the Yajur Veda abounds in prayers and sacrificial formulae used by priests; and the Atharna Veda includes incantations and spells. The Vedas also offer insight into the history of Hinduism and the early development of several artistic, scientific and philosophical concepts, such as the concept of zero. Expressed in the Vedic language, which is derived from classical Sanskrit, the verses of the Vedas were traditionally chanted during sacred rituals and recited daily in Vedic communities. The value of this tradition lies not only in the rich content of its oral literature but also in the ingenious techniques employed by the Brahmin priests in preserving the texts intact over thousands of years. To ensure that the sound of each word remains unaltered, practitioners are taught from childhood complex recitation techniques that are based on tonal accents, a unique manner of pronouncing each letter and specific speech combinations.

India 2008

Part of the Bon tradition that still exists in Bhutan is the practice of shamanism. Shamans are sought out in times of illness, misfortune, or for divination. The practice of shamanism is common in almost all regions and is referred to differently in each region. It is also distinguished by ethnic groups, which can be divided into three major regions. Shamanism in Bhutan, as in other parts of the world, is deeply rooted in religion and involves supernatural powers. Since the practice of shamanism is based on religion, the religious origin and affiliation of the practice of shamanism in western and eastern Bhutan is Buddhism, while in the south it is Hinduism. There are two types of Bon practices: Bonkar and Bon nag. While Bonkar does not require animal sacrifice, Bon nag requires blood and animal sacrifice. Bon nag is virtually non-existent in Bhutan now that Buddhism is widely practiced. Popular shamanistic practices in the east include Pawo (male medium), Pamo (female medium), and Jab (Possessor or a deity). Nel-jorm (term for Pawo and Pamo in the West), Terda (male medium), and Jomo (jab of the East) are practiced primarily in the West. In the south, Jak-ri/Dha-mi is practiced, which is further divided into four categories: Ban-jhak-ri (abduction by a wild shaman), Naag-mata (female shaman), Ghalley-pawo (practiced by the Ghalley caste), and Rai-pawo (practiced by the Rai caste). Pawo Tashi Penjor (60) from the Shaba Gewog (block) under Paro Dzongkhag (district) has been a shaman for almost 21 years and is a well-known figure in the Gewog. His services are also sought by people from other Dzongkhags. During the Thangka Bonko, the Pawo asks the deity for help for the welfare of the community and for peace and prosperity. A shaman does not become a shaman by choice or interest. It is not necessarily hereditary. It depends on the choice of the deity or god. Before a person is identified as a shaman, he or she falls seriously ill and is confirmed by a divination from a lamb. After that, the person dedicates himself to a Yidam (protective deity) who is able to guide the person to a good Pawo. Pawo Tashi Penjor also became a shaman at the age of thirty and continues to assist the community with psychological and healing tasks. According to him, people continue to seek the help of shamans while seeking the assistance of technology and science. The amount people offer him does not deter him, whether it is small or large, because he only wants to help people. People seek the help of a shaman in times of illness, misfortune, or accidents that are beyond the control of medicine or other forms of intervention. A shaman acts as a medium between the people and the spirits or gods. He invokes the god or spirit, finds the causes of the illness and misfortune, and makes predictions about the actions or solutions. On such occasions, shamans are either invited to their homes, or they are performed only at the shaman's place. It is also performed during local village festivals or events such as Bon-kor, when the intervention of the Pawo or Nel-jorm is required. In such cases, the shamans help the village or community by predicting unforeseen mishaps or epidemics and suggesting appropriate solutions. On such occasions, shamanism is performed in a common place, either in a village Lhakhang (temple) or in a designated open space where local festivals are held.

The Bauls are mystic minstrels living in rural Bangladesh and West Bengal, India. The Baul movement, at its peak in the nineteenth and early twentieth centuries, has now regained popularity among the rural population of Bangladesh. Their music and way of life have influenced a large segment of Bengali culture, and particularly the compositions of Nobel Prize laureate Rabindranath Tagore. Bauls either live near a village or travel from places to places and earn their living from singing to the accompaniment of the ektara, the lute dotara, a simple one-stringed instrument, and a drum called dubki. Bauls belong to an unorthodox devotional tradition, influenced by Hinduism, Buddhism, Bengali, Vasinavism and Sufi Islam, yet distinctly different from them. Bauls neither identify with any organized religion nor with the caste system, special deities, temples or sacred places. Their emphasis lies on the importance of a person’s physical body as the place where God resides. Bauls are admired for this freedom from convention as well as their music and poetry. Baul poetry, music, song and dance are devoted to finding humankind’s relationship to God, and to achieving spiritual liberation. Their devotional songs can be traced back to the fifteenth century when they first appeared in Bengali literature. Baul music represents a particular type of folk song, carrying influences of Hindu bhakti movements as well as the shuphi, a form of Sufi song. Songs are also used by the spiritual leader to instruct disciples in Baul philosophy, and are transmitted orally. The language of the songs is continuously modernized thus endowing it with contemporary relevance.

Bangladesh 2008